More indie games

Garbage Country makes upgrading the car the way the map opens

4 min read

Most open worlds hand you the whole map and a menu to skip across it. Garbage Country hands you a car that cannot get very far yet, and makes every upgrade a piece of the world opening up.

The car is the key, not the transport

You drive. That is the verb, and the game is unusually willing to let it be the only one for long stretches. A handcrafted wasteland of sun-bleached concrete and abandoned landmarks sits in front of you, your map fills in as you cross it, and the thing deciding how far you get today is the vehicle itself — its grip, its clearance, its ability to climb something it has no business climbing. The developer calls it light vehicle platforming, which is the honest description: the terrain is a series of physical problems, and the car is the tool you solve them with.

That is a different job than a car usually does. In most open worlds the vehicle is a camera dolly with a speed stat — it shortens the boring part between two places the designer already decided you could go. Here the car is the gate. An upgrade is not a bigger number on a sheet, it is permission to reach a corner of the map that was refusing you an hour ago, which makes the upgrade screen a piece of level design rather than a shop.

Then there is the other half, and it is welded on at an odd angle. Something has stirred up the bots out here and they have turned on humans. When they come, the game stops being a road trip and becomes a tower defense: you spend the materials you scavenged on turrets, place them around wherever you happen to be standing, and hold. The interesting consequence is that you choose the battlefield by choosing where to run out of road. A defensive fight is normally staged on ground the designer built for it. This one is staged on ground you drove to.

The third mode is nothing happening at all, and the store page lists it as a feature — quiet moments, the road less travelled, wind and dust and a radio antenna crackling. A game that advertises its empty stretches is making a claim about pacing that most open worlds would not dare to put in a bullet point.

Why it matters as design

How to combine video game genres argues that a mash-up does not work because you poured two genres into one build — it works when each genre has a job, and both point at the same focus. That is the exact test this game has to pass. Driving has to be what produces the materials and the routes; tower defense has to be what spends them and gives the driving stakes. If the turret fights become an interruption you tolerate to get back to the scenery, the seam shows immediately.

What to build first in an open world makes the case that the first thing worth building is not the map but a hundred metres of ground you enjoy crossing, because everything else in an open world is built on top of the crossing. Listing fun vehicle physics as feature number two is a developer saying they know this. It is also the riskiest promise on the page: if the car is merely fine, a vast handcrafted landscape becomes a long commute, and no number of landmarks will fix it.

How level design can tell a story is the reason the wasteland can carry a plot without anyone narrating one. Rooms, routes, props and light do the explaining — the overgrown rubble of what was, an abandoned structure you have to work out the purpose of, the shape of a highway that used to matter. Coming from the developer of Cloud Gardens, which was entirely about beauty accumulating on top of ruin, that is the part of this game least likely to disappoint.

The facts, then one sibling

Garbage Country is by [Noio](https://www.noio.nl), published by EdCorp, and listed under Indie. It is single-player with full controller support, and the store page is signed by Thomas, who made Kingdom: New Lands and Cloud Gardens and describes this as the same style and themes from a fresh perspective.

It is not out. Windows and Mac are the announced platforms and there is no date yet, which for a game whose pitch depends on how the driving feels is the right kind of silence — that is the part you cannot rush and cannot fake in a trailer.

If the appeal is a vehicle that is also your home and your defensive position, Railborn is the closest thing on this list — a base that is a train, where the route is the decision and everything you build has to survive being taken somewhere else.